Music Preference 1 - Brent Hugh's personal and business web pages

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Music Preference 84 Presentations given to all groups were videotaped. To give an idea of the content of the informational presentations, outlines of informational presentations were prepared from these videotapes. These outlines represent the main ideas presented in the informational presentations but not necessarily the precise language or phrasing used in the presentations. The four presentations outlined below were given to two different subgroups of group HS. The first subgroup heard informational presentations about Capriccio and Funérailles; the second subgroup heard presentations about Fantasy and Carnaval. Outline of informational introduction J.S. Bach: Capriccio on the Departure of a Beloved Brother The capriccio was written when Bach was seventeen years old. This work tells the story of Bach's brother and his friends when the brother enlisted in the army. Each movement tells part of the story (movement I: friends try to convince the brother to stay home; II: misfortunes that will happen to brother while traveling; III: lament for departure of brother; IV: celebration on departure of brother; V: postillion's air, explanation of postillion; VI: fugue based on the postillion's air). Explanation of fugue with musical illustrations of the fugue subject and demonstration of how voices are played in counterpoint to the subject over the course of the fugue. Demonstration of the "whip-crack" motive and how it is combined contrapuntally with the main subject. [Total length of presentation: 3 minutes 40 seconds] Performance Fugue from Capriccio on the Departure of a Beloved Brother, J. S. Bach [Total length of performance: 2 minutes 30 seconds]
Outline of informational introduction Liszt: Funérailles Music Preference 85 Liszt was Hungarian. Three of his friends had been killed in a revolution in Hungary during 1800s. Funérailles is a memorial to these friends. Funérailles means a "funeral" or "elegy". Three main themes from the piece are given names and illustrated at the piano. The "weeping theme" is performed. Audience is asked to hum or sing the theme as performer plays it. This theme will be heard several times in this piece, and will be changed and have a different character each time. The "heroic theme" is performed. This theme has an accelerando. Performer plays this theme and asks audience members are asked to clap the beat so that they feel the accelerando. The "burial theme" is performed. The performer then asks audience to sing or hum along as he plays it. This theme, too, will be transformed and heard in several different versions. [Total length of presentation: 5 minutes 0 seconds] Performance Excerpt from Funerailles, Franz Liszt. [Total length of performance: 7 minutes 37 seconds] Outline of informational introduction Beethoven: Fantasy, Op. 77 A fantasy is free and open to anything the composer's fantasy can imagine. There are no definite rules to follow; anything goes. Beethoven liked to improvise. Friends and acquaintances liked to invite Beethoven to parties and dinner, then invite him to play afterward. Beethoven hated being asked to do this and usually showed some resistance. But finally he might be convinced to sit down at the piano where, in exasperation, he tosses off a few scales [the performer illustrates by sitting at the piano and playing the opening scales from the Fantasy]. This might lead into a few disconnected musical ideas; whatever sprang into his mind at that
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Can Musicians Alter the Music Prefe
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The Musician Introduction Why Influ
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Music Preference 5 across musical g
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Music Preference 7 easier to manipu
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Music Preference 9 training and hig
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Music Preference 11 listening group
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Music Preference 13 4. Are there mu
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Music Preference 15 Stipp (1990) ag
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Music Preference 17 Berkeley, 1997)
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Music Preference 19 is the hardenin
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Music Preference 21 less. It simply
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Music Preference 23 greater depth.
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Music Preference 25 may develop a d
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Music Preference 27 results in the
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Music Preference 29 Presentations i
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Music Preference 31 21-80, 53% indi
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Page 35 and 36: Music Preference 35 applied to each
Page 37 and 38: Questions Music Preference 37 Quest
Page 39 and 40: Music Preference 39 "Performer was
Page 41 and 42: Music Preference 41 Equally remarka
Page 43 and 44: School audiences. Music Preference
Page 45 and 46: Music Preference 45 the students ar
Page 47 and 48: Music Preference 47 Question 4: Do
Page 49 and 50: Music Preference 49 concert was hel
Page 51 and 52: Music Preference 51 4. For some sub
Page 53 and 54: Music Preference 53 correct, audien
Page 55 and 56: Table 1 Age Distribution of Recital
Page 57 and 58: Table 3 Latin-Square Experimental D
Page 63 and 64: Table 9 Music Preference 63 Repeate
Page 65 and 66: Table 11 Preference Ratings by Age
Page 67 and 68: Table 13 Preference Ratings by Age
Page 69 and 70: Table 15 Music Preference 69 Elemen
Page 71 and 72: Table 17 Music Preference 71 Intera
Page 73 and 74: Preference Rating 4.4 4.2 4.0 3.8 3
Page 75 and 76: WORKS CITED Music Preference 75 Alp
Page 77 and 78: Music Preference 77 Fung, C. K. V.
Page 79 and 80: Music Preference 79 LeBlanc, A., Co
Page 81 and 82: Music Preference 81 Rubin D. C., Ra
Page 83: Appendix A Outlines of Information
Page 87 and 88: Music Preference 87 The final movem
Page 89 and 90: Music Preference 89
Page 95: Appendix E Recital program used for
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Music Preference 1 - Brent Hugh's personal and business web pages

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